1984 – 1994:
I never stopped dreaming of that crazy thing and what it could do for a stringed instrument. It was always there in my head. During my years with Yorkville, especially 1988-1994, I spent many evenings developing new circuits and mathematical control algorithms needed to create practical products based on my invention.
One of the most interesting things about Acoustic Synthesis™ is that it favors the use of additive synthesis over subtractive synthesis. In additive synthesis you design sounds by adding together several harmonically related sinusoids to build up new sounds from fundamental constituents. This is the opposite of subtractive synthesis, where you begin with a harmonically rich sound source and remove harmonics you don’t want with filters. The end result can be identical – in theory. In practice, the two methods tend to produce somewhat different sound palettes due to the bias of filters towards graduated timbres – additive syntheses is arguably more flexible in practice – once you have the plumbing in place to do it.
In the picture above, the colored waves add together to produce the complex wave in black.